越来越多的迹象显露出摄影方式——这个“逼真清晰”、“客观确凿”、“指向无疑”的——为标准所重的“肯定”性地位在动摇。这首先是因为摄影其特性依赖于机械之“眼”的观看方式,同时又脱逃不了观看之“眼”的意向目的。这种机器与人之间的矛盾,错综复杂地交汇在摄影形式上。这也使得摄影不再自诩或迷信基于早期被要求的:在物理和概念层面与原始对象相比同样精确、清晰可信的说法。我们在面对曾经是拥有“确定性”冠冕和特权的“摄影”图像时,认知在漾动,使意识和意义来来回回,在不同的可能性间漂浮,变得不确定。在语言被拓展的时代,这个逐渐脱离理性主义 More and more signs reveal that the way of photography - the “vivid and clear ”, “objectively conclusive ”, “point to no doubt ” - for the standard of . This is primarily due to the fact that the nature of photography depends on the mechanistic “eye ” viewing style, and at the same time it can not escape the purpose of “eye” viewing. This kind of contradiction between machines confuses people with the complicated forms of photography. It also makes photography no longer self-esteem or superstition based on what was claimed early on: at the physical and conceptual level as equally accurate and credible as the original object. When we face the “photography” images that used to be “crowns and privileges” of “certainty ”, cognition is rippling, bringing awareness and meaning back and forth and floating between different possibilities, determine. In the era of language expansion, this gradual departure from rationalism